A colossal aluminum pigeon named Dinosaur is set to soar and settle above the High Line in New York City starting October 2024. This impressive 16-foot-tall public artwork, conceived by Iván Argote and commissioned by the High Line Plinth, will grace the area at the intersection of 10th Avenue and 30th Street for more than 18 months. Hand-painted and striking, this aluminum avian finds its place in a city where its feathered relatives often gather on sidewalks and rooftops.
Argote aims to highlight the contrast in size between humans and pigeons, suggesting that while people may seem more powerful than the so-called ‘flying rat,’ this sculpture flips the script. Dinosaur looms over cars and pedestrians, asserting a quiet dominance in its presence. This piece marks the fourth installation in the ongoing Plinth program, following works by Simone Leigh, Sam Durant, and Pamela Rosenkranz. Originally proposed in 2020, Dinosaur was one of 80 submissions, including Rosenkranz’s Old Tree.
While many monuments honor significant figures in grand fashion, Iván Argote takes a different approach, celebrating the humble New York City pigeon. The name Dinosaur pays tribute to the lineage of these birds, reflecting their historical significance. According to Argote, the name emphasizes the sculpture’s impressive scale rather than its appearance. It serves as a nod to the ancestors of today’s pigeons, who once ruled the Earth millions of years ago, now overshadowed by humans who have diminished their numbers.
Iván Argote reflects on the poignant symbolism of his work, noting that the name of his sculpture alludes to the extinction of dinosaurs. “Like them, we too will eventually fade away, yet perhaps a fragment of humanity will persist—much like pigeons do—nestled in the shadows and crevices of future landscapes,” he muses. While the specifics remain uncertain, Argote believes his hyperrealistic creation will evoke a mix of fascination, allure, and perhaps even trepidation among onlookers. But there’s no need for fear; it remains stationary, simply observing the bustling cars, curious tourists, and the vibrant life of New York with its unwavering gaze.
Argote draws a parallel between pigeons and the diverse populace of New York, suggesting that both have origins beyond the city. His sculpture conveys a powerful message: in a city celebrated for its diversity, everyone is, in essence, an immigrant. Pigeons, believed to have arrived in the U.S. from Europe in the 1800s, adapted to various roles—serving as food, companions, and symbols of elegance, while also acting as messengers, thanks to their remarkable homing instinct.
During the tumultuous times of World War I and World War II, these birds played a vital role in military communications, carrying crucial messages across battlefields. Yet today, they are often dismissed as nuisances, highlighting the shift in their societal perception. Through his unique artistic lens, Argote reclaims the pigeon as a figure of celebration, casting it in aluminum. With a touch of humor, he posits that these birds, along with his ‘Dinosaur,’ may deserve more recognition for their contributions to New York than many of the city’s celebrated historical figures. As the first and youngest artist from the global south to showcase at High Line Plinth, Argote’s aluminum pigeon ‘Dinosaur’ is poised to take its place in October 2024 for an 18-month exhibition.